Lise Lindstrom<\/a> recently took time to converse with Benjamin Torbert for OperaWire. Lindstrom sings all three Br\u00fcnnhildes in \u201cDie Walk\u00fcre,\u201d<\/a> \u201cSiegfried,\u201d<\/a> and \u201cG\u00f6tterd\u00e4mmerung\u201d<\/a> in the Dallas Symphony Orchestra\u2019s very lightly staged concert presentation of Wagner\u2019s<\/a> \u201cDer Ring Des Nibelungen,\u201d<\/a> on 13-20 October 2024. She already appeared with the Dallas Symphony Orchestra for two performances of \u201cWalk\u00fcre\u201d in May 2024. After the Dallas \u201cRing Cycle,\u201d she assays die F\u00e4rberin in Strauss\u2019<\/a> \u201cDie Frau ohne Schatten\u201d<\/a> at the Metropolitan Opera, beginning 29 November.<\/span><\/p>\n Lise Lindstrom: So there\u2019s not a lot of mystery, is that what you\u2019re trying to tell me?<\/span><\/p>\n LL: Of course it has. So my first was the \u201cWalk\u00fcre\u201d Br\u00fcnnhilde and I did that in a production with Graham Vick<\/a> in Palermo and Pietari Inkinen<\/a> conducted that. It was a fantastic group and I was so lucky. I was extremely lucky to have done my first Br\u00fcnnhilde with Graham because he set the standard. He set the bar for how I could approach such a monster role. I was completely daunted. I was overwhelmed and one hundred percent sure I wasn\u2019t worthy. I mean, I think that for singers\u2026 I don\u2019t know if everyone feels this way\u2026 I felt like I wasn\u2019t worthy of this material. It\u2019s so legendary, so epic. And I thought, what is a girl from Sonora, California, doing singing Br\u00fcnnhilde? How does she even deign to enter that arena? Because when you think about it, it\u2019s quite an arena to enter.<\/span><\/p>\n Graham heard my insecurities, and he just politely rolled his eyes, and then he walked me through it, and helped me break it down into bite-sized chunks. And it was all about the words. It was like [coaching] a Shakespearean actor. Every day, we met at 9:00 AM for an hour with the pianist before the staging rehearsal started at 10:00 and we just sat with the pianist. We didn\u2019t run the music. We listened to little bits and pieces, we talked about the meanings of the words and why Wagner chose that note progression, that phrasing for those words. What was the question mark about, what was the comma about? And particularly with Wotan, because those conversations are so intense and in Wotan\u2019s monologue in the Second Act she\u2019s a silent partner… She has to be [reacting] to him, and totally in on the words. So eventually, in 2016, when I came up to my first full Cycle, I brought all of [those concepts] of learning, integrating, personalizing with me and it was \u2014 really it was \u2014 because of Graham.<\/span><\/p>\n LL: I agree. And yet, it\u2019s also so honest because she is he and he is she. So she could be perceived as using him against himself. But the truth is, there is very, very little [in which] they are not exactly alike, which is why it\u2019s so heartbreaking, ultimately, from a psychological point of view. The breakup of that relationship, of that entwined-ness, is heartbreaking. On the surface, it\u2019s a father-daughter relationship, but from a philosophical point of view, it\u2019s Wagner grappling with the Other of himself and how not to be dominated by the Other and to find his integrity. And that\u2019s what they both do at the end of that third act.<\/span><\/p>\n LL: That she has the potential to be the most human character in the entire Cycle. [For] me, as a dramatic soprano, she\u2019s the most human character that I get to portray because she has this extraordinary development from the naivet\u00e9 and the innocence of youth, teenager-ness, and the idolization of her father. And just [this attitude that says,] “life is really good, come on, let\u2019s go, you know, let\u2019s do it.” And then she\u2019s confronted almost immediately with his frailty, his capitulation in the face of Fricka, and the admittance, on his side, of what a major mess he\u2019s created.<\/span><\/p>\n Then she meets Siegmund. And the tectonic shift within her is not conscious. It is visceral. That\u2019s what\u2019s so powerful about the Todesverk\u00fcndigung, is that it\u2019s a visceral shift. And if we\u2019re clever as actors, on stage, in combination with that language, it\u2019s not about telling the audience that it\u2019s happening. It\u2019s having the audience experience it as she does too. So it\u2019s not the actual Erz\u00e4lung (narrative) [telling you] \u201cohh, this is what I\u2019m going through now, folks, so come along with me,\u201d which some of the opera is, [admittedly]. But the Todesverk\u00fcndigung is that moment where \u2014 I can still see Graham\u2019s face \u2014 [Siegmund’s] like, “Ohh, what\u2019s happening to me? Oh my God.\u201d <\/span><\/p>\n \u201cIch sehe die Noth \/ die das Herz dir zernagt \/ ich f\u00fchle des Helden heiligen Harm\u201d (I see the distress \/ that gnaws at your heart \/ I feel the hero\u2019s holiest grief). [And then,] \u201cIch sehe, ich f\u00fchle\u201d (I see, I feel) \u2014 and she\u2019s like, “Oh my God, what is actually happening, wait, this is way beyond my previously understood skillset. I am actually now on a totally different journey. I have no choice.”<\/span><\/p>\n And of course it mirrors exactly where Wotan is. That\u2019s why his monologue is so full of despair and gut-wrenching agony, it\u2019s because he sees it, he feels it, he hears it within himself… Then she becomes the next messenger of that entire journey, which culminates in the unseen. I love that with Br\u00fcnnhilde the arc is vast, and you have \u201cDie Walk\u00fcre,\u201d you have this coming of age story with her, her independence. She\u2019s going to be autonomous. She\u2019s going to go out into the world. She\u2019s making her decision. It ends the relationship with Wotan. She doesn\u2019t quite understand that, [or why that’s necessary,] until the end of the of the third act…<\/span><\/p>\n Then you have this maiden that wakes up in \u201cSiegfried.\u201d She\u2019s no longer a god, she\u2019s completely bare and she\u2019s with Siegfried. Well, she knew she was gonna be somehow, how that was gonna work out. Or did she? Then the true heartache of \u201cG\u00f6tted\u00e4mmerung,\u201d the euphoria of \u201cZu neuen Thaten,\u201d the infiltration of her happy place by Waltraute and all of this bad news. The false Gunther, the rape by false Gunther, or whatever happens there. And then the darkness of the Gibichung Hall. Again, it\u2019s a human journey. You know, we\u2019re talking dark night of the soul, and how to recover from all of that. And then the euphoria of delivering the ultimate release for everybody involved in \u201cStarke Scheite.\u201d It\u2019s the coolest thing ever.<\/span><\/p>\n LL: One hundred percent.<\/span><\/p>\n LL: Yeah, there is an aspect of it that is low key-harder, because it\u2019s more exposed. There\u2019s nowhere to hide. You know, one of the joys of being a singing actor in a production is you\u2019ve got a set, a costume, a concept. And we\u2019re in our little world up there, we\u2019re creating a scene and then inviting the audience into it. And the concert stage requires a little bit more work to do the same thing, because we have to create the spell, we have to create the environment, the feeling that this thing is percolating around us. So I think it\u2019s also why Maestro Luisi<\/a> chose people who had time in these roles, who had legacy behind them already, and could bring all of that spell or energy of all of our past experiences with the roles [onto the stage]. Otherwise\u2026 it would be really hard to make your Br\u00fcnnhilde debut doing this concert version. It would just be a totally different thing.<\/span><\/p>\n LL: \u2026and Deniz Uzun,<\/a> making her Fricka debut. [It] takes some major cojones<\/em> to take that on, and she nailed it.<\/span><\/p>\n LL: You know, Blanche<\/a> was probably not the best teacher to start<\/i> with. Because she was a technician, but not a technician that a 17-year-old needs. You know, 17-year-olds need to know nuts and bolts like, you put this thing here, and you take that thing off there, and… then you put this other thing over there. Blanche was such an extraordinary artist. And actually, I was just talking about this with a colleague last night. Now her wisdom is front in my head, all the time, so it\u2019s about the journey. It\u2019s about being completely committed to the moment, every moment, and then this moment, and then this<\/em> moment. What are you creating now? What are you answering now? What are you saying to your colleague now? How is this feeling now? Not how you did it last week, or even yesterday, or even this morning. How are you doing this now?<\/em> So that kind of wisdom is priceless.<\/span><\/p>\n But what was so crucial for me \u2014 people didn\u2019t know what to do with my voice, even Blanche. The first aria I ever learned was \u201cEinsam in tr\u00fcben Tagen from \u201cLohengrin.\u201d<\/a> I sang that for two and a half years in her studio and I never got past page three. Because I could never sing it, really. And you know, even now I have, like, PTSD [with] that aria. But she was right. She heard the instrument amidst all of the underdevelopment of the technique. But it took years before everything got in alignment: my mentality about how to sing, my technique, my physicality about how to sing, and then the right repertoire. <\/span><\/p>\n The only thing that I did which was topsy turvy [was] I started my career with Turandot,<\/a> whereas a lot of singers end their careers with Turandot. And everybody that was anybody that I coached that role with before I did my first one, told me it would ruin my voice. And I was like, well, okay, I\u2019m coming from absolute obscurity. If I ruin my voice trying to do something, I guess that\u2019s not such a disaster. The disaster would be not trying to do something. That would be the disaster. And lo and behold, it was the key. So through that role, I found a good teacher at the same time \u2014 that was great timing \u2014 and the combination of the teacher, the technique from that teacher, and the role really educated my mental, physical, technical self. [It taught me] how to do it.<\/span><\/p>\n Then after a couple hundred performances of that I thought, well, I\u2019d really like to sing something else. So let\u2019s try and get some German repertoire and slowly we started building Sentas<\/a> and Salomes<\/a> and things like that.<\/span><\/p>\n LL: This is something I feel so strongly about with singers, and I think things are changing now in SingerLandia. Technique is a suggestion, but it\u2019s not a one-way-or the-highway kind of idea. It is a road map. People can lead you to ideas about how your voice works, but at the end of the day we have to have that autonomy one hundred percent, and knowledge of the physicality. What does our body\/voice need? I remember my turning point was with Turandot. I remember driving to a rehearsal, my first performance in my first production of \u201cTurandot\u201d and I thought, I don\u2019t know how to sing this. I\u2019m listening to Maria Callas,<\/a> I\u2019m listening to Birgit Nilsson,<\/a> I\u2019m listening to Inge Borkh<\/a> and other recordings,\u00a0and I\u2019m like, I can\u2019t do it like that. And I just thought, well, then you have to do it your own way. You have to figure out what your own way with this is and if it hurts, I guess that\u2019s bad. So don\u2019t do that.<\/span><\/p>\n And I was really smart\/lucky. Lucky it never hurt. I could tell that I had a physical limitation, but that was an evolutionary thing that would change as I got older, and it has. I never pushed against that. I was like, well, this is the way it is now. I\u2019m in my thirties. It shouldn\u2019t be any different. Now I\u2019m in my forties. It\u2019s getting richer. It\u2019s getting more pliant. I\u2019m getting more colors. I\u2019m getting more capacity. Cool. None of that is costing me my voice, my technique, my stamina.<\/span><\/p>\n Singers have to be so smart. But they also have to be incredibly strong. We\u2019re being coached by lots of different people. We\u2019re getting lots of input from other people about how we should sound, what repertoire we should sing. In the end, the buck stops here. It has to. My chemistry has to fit me. And you just have the have the balls to sing Br\u00fcnnhilde how you want to sing it yourself. And not try and be anybody else.<\/span><\/p>\n And… I think that\u2019s sort of the bottom line. I sing Elektra<\/a> like I was a lyric soprano. There [are] times that I just blast the wall out and there are times when I\u2019m incredibly lyric. I can do that. Not everybody can do that. But I like doing it. It saves my voice. It makes me have something to do. I like it.<\/span><\/p>\n LL: It makes Elektra prettier. It makes her more me. It makes her more relatable, which I\u2019m always much more interested in. In the end, I\u2019m an actor who sings. I\u2019m not a singer who acts. I like acting. I like portraying characters. I like sharing an emotional experience with the audience. I want to bring these characters to life, like the composer intended.<\/span><\/p>\n LL: I just got the score out! It\u2019s literally on the stairs right behind me because I\u2019m actually gonna program that into my future. I\u2019m just gonna put it in the suitcase and carry it with me because I really, really want to [do it]. I am the girl from the Golden West. I grew up in the gold country. I grew up in a town named Sonora.<\/span><\/p>\n LL: Soledad! It\u2019s right over there, [basically neighbors]! I would love to sing that role. Isolde<\/a> and Minnie<\/a>\u00a0are the two things I have yet to do that I would love to do. I\u2019m sure there are other things, I don\u2019t know. \u201cThe Makropulos Affair\u201d<\/a> would probably be great for me. I\u2019ve never done Czech, so it would be a real stretch for me. But easily \u201cLa Fanciulla del West,\u201d you nailed it.<\/span><\/p>\n LL: Do you have the recording of Eleanor Steber,<\/a> the live one? Yeah. It\u2019s just so… I mean, actually, it\u2019s gonna make me cry. It\u2019s so beautiful. The orchestra is so cool \u2014 Puccini<\/a> gets such a bad rap. I mean, he is so diminished in so many people\u2019s minds, and yet he is a genius. He was on a trajectory. I wish he hadn\u2019t died when he did, or I wish he had finished \u201cTurandot\u201d sooner. Because the architecture of his composition is completely unique. Leoncavallo<\/a> didn\u2019t have it. Mascagni<\/a> didn\u2019t have it. They had their own versions, but at that time he just had his finger on a pulse, on a thread of energy, that I wish [he] had… expanded more, lived in [more].<\/span><\/p>\n LL: I agree.<\/span><\/p>\n LL: “Die Frau ohne Schatten” is such a strange amalgamation of Straussian styles. I mean [my] role in particular: F\u00e4rberin. She\u2019s sort of a heroic Zerbinetta<\/a> in a weird way. Those lines in the second act \u2014 the singer has to be able to be somewhat gymnastic in singing those lines, and yet have the force of an Elektra. You have to have the ability to get through the orchestra. Again, it\u2019s a great challenge as an actor because it\u2019s very easy to hate F\u00e4rberin. Because she can be perceived as one-dimensional from the very beginning: but actually there\u2019s an awful lot going on beneath the surface. Otherwise she wouldn\u2019t be with Barak, there wouldn\u2019t be any kind of relationship there, and she wouldn\u2019t be as conflicted.<\/span><\/p>\n I did my first one in Hamburg with Linda Watson<\/a> singing her first Amme and with the absolutely stunning, unforgettable, unparalleled Emily McGee<\/a> singing the Kaiserin. And it was my first F\u00e4rberin! And with those two powerhouses on stage, I was scared to death. But again, I just found my way: to do it my way, with my voice, perhaps more of a lyric sound than people [were] expecting, but still with enough power to get through the orchestra.<\/span><\/p>\n I remember saying to a very good friend, when I was learning it, how jealous I was of the Kaiserin… She has all this beautiful music, all night long, and the F\u00e4rberin has to wait for those first three pages of the third act to have the beautiful soaring line. And I don\u2019t feel jealous anymore \u2014 I wouldn\u2019t ever want to sing any other role except the F\u00e4rberin. I don\u2019t imagine I will ever sing Amme. It wouldn\u2019t be in my wheelhouse. Those aren\u2019t my gifts. She\u2019s more zwischy<\/a> and she\u2019s got to have real balls in the lower part of her register. And I mean, maybe in ten years I\u2019ll have more of that, but my gift is still the top, and that\u2019s why F\u00e4rberin really suits me.<\/span><\/p>\n Now I love it and I love the journey. I\u2019m still puzzled by the story. I still get confused. It\u2019s so Hofmannsthal,<\/a> it\u2019s so mythological, it\u2019s so fairy-tale. It\u2019s so ‘swimmy’ in that third act, intentionally so. And I know the parallels between [it and] \u201cThe Magic Flute\u201d<\/a> are there. The journeys, the dark, the light, the redemption [arc], all of that, and I get it from that aspect. But as an actor, I just have to give myself completely over to it rather than\u2026 with all the other Strauss roles, I know the journey. There\u2019s no prediction here. I\u2019m not pre-programming anything for the audience. They have to take from it what they take. I\u2019m just delivering the information.<\/span><\/p>\n LL: Well, it\u2019s funny because I was just talking to Max Potter over at Lenny Studio. Max and I work on planning… my digital content on Instagram and Facebook, and I am an incredibly hesitant social media user, but I also am a very enthusiastic communicator. So with her help, we try to develop things that I feel okay about sharing. And she just said to me, “listen, some good ideas are how-to videos, or process videos, or day-in-the-life-of videos.” And I was like, “yeah, yeah, I\u2019m terrible at getting that content up, but there\u2019s probably interest in it and I should do that.” And [she said], “what do you do with your down time? You just disappear off social media during your downtime.” It\u2019s like, well, yeah, because I\u2019ve disappeared. I mean, in my mind, I\u2019m no longer Lise Lindstrom the opera singer. I\u2019m Lise Lindstrom, the girl from Sonora, who\u2019s just trying to figure out what to cook for dinner, or I should really do the laundry today. Downtime is tricky. But what I\u2019ve had to try and do is realize that downtime means that I put all these people that live in me, sort of in a cryogenic chamber, and they\u2019re all just percolating, ready to come awake at any moment. And I feed myself, literally and figuratively, all the things that become resources for when I get to bring them out of their stasis again.<\/span><\/p>\n And by feeding myself, I keep my mind active, and when my mind\u2019s not active, that\u2019s the danger zone. That\u2019s usually when I plummet into the depths of despair. \u201cOh, I\u2019ll never sing again. No one\u2019s ever gonna hire me, maybe it wasn\u2019t all real after all.\u201d You know that\u2019s when all the ghoulies come out of the closet. And it\u2019s all about momentum. So [I am] feeding myself, going for a walk, going to the museum, reading a book, having a conversation, learning a new role, reading some letters between Hofmannsthal and Strauss, or, you know, finally reading that great Wagner book. Because otherwise the momentum goes from light speed to zero, and that difference can be devastating.<\/span><\/p>\n I think we all have been conditioned to think that if we\u2019re not at warp speed one hundred percent of the time we\u2019re failing, which is utter BS. Honestly, it\u2019s very American, and it\u2019s so completely misaligned to the biological system that we live within, which actually needs time to digest and recover and resurface. So if we\u2019re going full speed ahead all the time we\u2019re, [first and foremost,] adrenaline junkies, and [also] never in a pose of recovery and rejuvenation. <\/span><\/p>\n So the ultimate thing is when you sing a Br\u00fcnnhilde, after you\u2019re done singing Br\u00fcnnhilde, you need to put Br\u00fcnnhilde to bed for a few days or weeks. And really, the best possible thing I know I need is two or three days where I don\u2019t have to really get out of bed. And it may feel like being lazy, it may feel like I\u2019ve dropped out of the human race, but that kind of deep level recovery is mandatory. Because if I don\u2019t go that deep [into] recovery then I cannot resurface and be epic again or what I expect myself to be. So that\u2019s the easy answer. It [is almost never] possible because of scheduling or travel. You know, the cruelest thing an opera singer has to do after an epic performance is get up the next morning, pack their suitcase and get on a plane. I mean, it is brutal and we\u2019re all walking around airports, glassy eyed, and we\u2019re like, how did I get here? Wasn\u2019t I just doing [this]? Yeah, you were. But you still have to figure out where you\u2019re going, how to get there. Rental car, hotel. I mean, it\u2019s brutal to be ripped out of that deeply creative space and then function like a normal human being.<\/span><\/p>\n I\u2019ll come back here [to California], change the suitcase, I\u2019ll be here for about four days and then I\u2019m going to fly to London to work with my Strauss coach for a week before we start rehearsals [for \u201cDie Frau ohne Schatten\u201d] in New York. So it\u2019s insanity. But I also \u2014 this is getting back to the earlier part of the conversation \u2014 I need to be sure that I have given myself every possible chance of doing the job I expect myself to do, which means working with the people that I need to work with to prepare for the job that I want to do. Because if I don\u2019t, then I\u2019ll get to the job and that\u2019s where the impostor syndrome will take you down. Because you have nothing to dilute it with. You cannot combat it. It\u2019s like \u201cyou\u2019re not really prepared for this.\u201d Well, yes, I am, actually. I have just done this, this, this, and this to prepare. So I have learned that. Stack the deck as far as I possibly can in my own favor before I even get there.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" (Credit: Rosie Hardy) Lise Lindstrom recently took time to converse with Benjamin Torbert for OperaWire. Lindstrom sings all three Br\u00fcnnhildes in \u201cDie Walk\u00fcre,\u201d \u201cSiegfried,\u201d and \u201cG\u00f6tterd\u00e4mmerung\u201d in the Dallas Symphony Orchestra\u2019s very lightly staged concert presentation of Wagner\u2019s \u201cDer Ring Des Nibelungen,\u201d on 13-20 October 2024. She already appeared with the Dallas Symphony Orchestra for two performances of \u201cWalk\u00fcre\u201d in {…}<\/p>\n","protected":false},"author":4,"featured_media":92877,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[254,1],"tags":[939,81,414,45],"class_list":["post-92876","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","category-uncategorized","tag-lise-lindstrom","tag-puccini","tag-strauss","tag-wagner"],"acf":[],"yoast_head":"\nOperaWire: So this is interesting because I\u2019m interviewing you about what you\u2019re about to do\u2026 one third of which I already got to see in the Spring.<\/span><\/h3>\n
OW: I don\u2019t about that \u2014 she\u2019s mysterious in \u201cSiegfried,\u201d spends ninety percent of the opera sleeping. So you\u2019ve been doing Br\u00fcnnhilde since 2013. [Has] your approach to her changed or evolved, since you\u2019ve got a decade of Br\u00fcnnhilde under your belt?<\/span><\/h3>\n
OW: From the audience, encountering the text again, you\u2019re struck by these great moments, like the way she lawyers Wotan in \u201cWar es so schm\u00e4lich,\u201d and she takes his words, takes his music, breaks it into pieces, and builds it back into something else. It\u2019s so good, every single time you see it\u2026<\/span><\/h3>\n
OW: What do you love about performing Br\u00fcnnhilde and her trajectory in the three music dramas?<\/span><\/h3>\n
OW: So while musically they\u2019re three different roles, dramatically, it\u2019s one big, long episodic role.<\/span><\/h3>\n
OW: I\u2019m excited to see you in Atlanta next year, where you perform in a staged \u201cSiegfried.\u201d But to the audience, concert opera looks easier. You don\u2019t have to climb around on anything crazy. You don\u2019t have to remember blocking. Maybe there\u2019s a little semi-staging like you guys are doing in Dallas. Is anything about concert opera actually low-key harder?<\/span><\/h3>\n
OW: This cast is bananas. It\u2019s incredible how much experience a lot of y\u2019all have. And<\/span> there are some younger artists in the Valkyrie stable\u2026<\/span><\/h3>\n
OW: So, about career trajectory, you studied with Blanche Thebom, and part of what\u2019s interesting about you as this specialist in big Wagner, big Strauss, is that you\u2019ve done this in the way that we were led in the twentieth century to believe it ought to go. The voice maturing in the middle of the career and only then assuming those roles. Everybody loves talking about how younger singers are getting pushed into heavy roles too soon. What did you take from Blanche Thebom about this heaviest German repertory?<\/span><\/h3>\n
OW: How does your voice still sound so pliant after all those Turandots? I know part of the answer to that is technique\u2026<\/span><\/h3>\n
OW: It makes \u201cElektra\u201d prettier.<\/span><\/h3>\n
OW: We talk about Puccini, and like Turandot, this dramatic German repertory is often portrayed as a cul-de-sac, a destination for a singer, as though once you\u2019re singing it, you can\u2019t do other things. Do you have plans to keep Puccini in the mix? Listening to you as Br\u00fcnnhilde \u2014 you\u2019re from California \u2014 one can hear you as Minnie in \u201cLa Fanciulla del West.\u201d<\/span><\/h3>\n
OW: \u201cLaggi\u00f9 nel Soledad.\u201d<\/span><\/h3>\n
OW: When you talk about Elektra and dialing the voice back a bit and singing more lyrically, even though there are also all of those blowout moments: that\u2019s Minnie [too].<\/span><\/h3>\n
OW: Let\u2019s talk about Strauss \u2014 it\u2019s exciting that you\u2019ll be in New York in November, doing \u201cDie Frau ohne Schatten,\u201d and for my money, you\u2019ve got the best of the three female roles in that opera. <\/span><\/h3>\n
OW: What\u2019s your relationship to that opera and how does fit in with all these other roles you\u2019ve done?<\/span><\/h3>\n
OW: How do you pace yourself, singing a few roles that aren\u2019t considered killer roles? How does one recover between Br\u00fcnnhildes and Turandots?<\/span><\/h3>\n